Week 12: Finalising Designs

My invitation and movie poster are finished!

The main typographical decisions I made in my poster focused on the sequence of information in a single page, highlighting communication in an order of priority using contrast, sizing and position. I added balance with white space in the poster and this impacted the length of the communication in important places (such as the tagline).

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Here are some images of the final invitation, including overprinted elements:

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The key typographical decisions in regards to the invitation centered around organising my sequence properly and working to styles for body text, title text, subtitle text and pull quote text.

I wanted to make sure it was readable, but at the same time to maintain the nice white space balance I had in the movie poster for a matching look, hence the font sizes used were not the largest they could have been, but add to the appearance of the final item, making it look more contemporary. The right aligned text on the mirrored Georgia might not be the finest decision, but I felt it added dramatically to the shape of that particular block, making it more interesting for the reader when faced with lots of text to look at.

Here’s some photos of my final invitation mockup:

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Week 11: Invitation Design Refinement

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Collaborate – Edits
The second test print and subsequent collaborate session highlighted some important edits to be done.

Notations

1. The sequence of information was still not quite right. More ‘unfolding’ and less synopsis was needed on the first few pages. I am editing to build more suspense with the sequence.

2. The studio logo will no longer be CCS (it is a bit awkward) and instead I will use a contemporary film studio logo as advised by ELA.

3. My concerns around the trippy mirrored Georgia image on the inside could be alleviated by creating some differences between the two images. I ended up making a larger/smaller combination.

4. Breaking up the synopsis means that the story is not read all in one space but is spread out more, making it easier to absorb.

5. I put the ‘you are invited to’ on the front as I wanted to build suspense instead of providing the film title up front.

6. I added an extra pull quote to fit in the cabin space on the inside of the design (it looked awkward being an empty inverted pop up space).

 

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The collaborate session was really useful and in adding the edits to my invitation, further inspiration came about, leading to a most interesting typographical arrangement around the mirrored Georgia on the inside.

While right aligned text would not normally be used for readability, I found that it fitted really well for one paragraph in shaping the text around the Georgia in blocks, so that there was an impression of a mountain near the inverted pop up cabin. It added interest to the synopsis (a large, boring block of text).

 

 

Week 10: Design Development

I did a test print of my invitation and I’m glad I did, as there were quite a few edits:

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Test Print – Edits

The main edits in the test print included getting the colours right, matching text sizes all of the way through where possible and adjusting scale/sizing of elements.

Page Notations

1. The cover page is fine. I could make CCS a bit larger for impact. The blue PMS can be adjusted further.

2. The text needs to follow the style of the body text in some way (sizing?)

3/4. Make film title fit better inside popup (reduce size). The word ‘PREMIERE’ to be a bit smaller (match font used for film title?) Date/time/address to be a smaller body text sized type. Kern ‘Charlie Chaplin’ to fix strange gaps and reduce by a point size. Cream colour does not stand out enough – it needs to be a bit darker to impact well on an equal tone/density to the blue. Make the popup dieline thinner and very light (10%).

5. Light body text not working – needs to be a heavier weight. Source text too small. Maybe leave out opening bolded summary sentences? Call it ‘A Silent American Comedy…’ instead of ‘Synopsis’. Remove heavy text from smart quote. Where possible, make smart quote a larger type size.

6. Working perfectly – use these type sizes for body text on other pages.

Initially I was planning to use a die cut as well, however at this point I don’t feel it would necessarily add more to the final product. I don’t want to overdo the special effects and I envision that gluing the inside of the invitation in place or printing it on a slightly thicker stock would produce a polished result instead.

Then remembered to do the second side and started working on a poster for it, including using the inverted popup as a 3D element:

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In the background of the white popup, there will be cream and my favourite tree, refeatured again and carrying through the theme from the front of the invitation. The mirrored heads of Georgia tie in with Georgia having two men vye for her attention for most of the movie.

I finalised the design of my movie poster, by fixing the colours (which were a bit flat on the test print), adding the CCS logo and fixing fragments in the logo. The CCS logo didn’t want to fit well down the bottom with the centered layout, hence I discovered that it fitted OK sequentially between the tagline and the image. It also balanced the white space there better.

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Week 9: Invitation Concept Designs

After lots of experimenting, I decided to stick to simple folds and embellish my invitation with cutouts, diecuts and/or popups. The three folds I liked the most were the 6 page roll fold (with and without lock) and a 10 page unfolding mailer, which could be die cut into interesting shapes.

Of course, I’m hoping that a combination of implementing artwork with one of these folds will unveil more possibilities.

Here are my fold sequences:

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I sketched some rough ideas on my A3 layouts with greylead pencil. It was a bit hard to see the impact of the ideas I had, so I redrew over them in fineliner, which made it much easier to choose a design to work with.

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Ultimately, I ended up not liking the locking devices and decided the most contemporary and sleek look would be achieved without them. I usually prefer receiving proper invitations in envelopes instead of junky-looking mailers – plus every locking device included reduced the space available. I have decided to work with the non-locked layout and incorporate a definite popup and potentially a die cut (yet to see how die cut would work but aiming some idea with colour showing).

Here’s the progress of my InDesign artwork:

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The black dieline is the popup in a cabin shape.

Week 8: Poster Development

Here are my thumbnail sketches of concepts. I wasn’t happy with the first page of concepts by itself, so I did two:

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Then I sketched my favourite two concepts…

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…and decided on one. I played with the layout…

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I’ve yet to add colour.

Here’s my film title development (also going to play with colour on this one):

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Here’s my poster design (almost complete). The colours have been selected with white for the snow and the blue and cream from 1920s sardine tins.

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Week 7: Movie Poster Dissection

Silent Era Movie Selection & Research

An American 1925 dramatic silent comedy, ‘The Gold Rush’ was written, produced and directed by Charlie Chaplin. Set during the Klondike gold rush, the film follows Charlie’s prospecting journey for gold in the Yukon and the finding of riches (romance, friendship and wealth). There are many themes in this film, but the journey, the losing and finding and the types of riches found seem to be the main themes.

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I also did a moodboard of contemporary movie/festival/entertainment and concert posters which I felt showed some lateral creativity in them:

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Contemporary movie posters which set a style to follow are below. These posters have very similar elements in common:

  • Gridded layout in minimalistic style
  • Title is a large font and usually appears in uppercase, often with wide tracking
  • Tagline(s) contain explanations and selling points and are also in caps
  • Casting is either gridded or out of the way, with most popular actors first
  • Imagery is focused on one main emotion of the movie and uses special effects such as lighting, POV and relational elements to draw the eye
  • All layouts are centered (but that doesn’t mean mine has to be that way)

I have commented on and dissected the posters in my workbook below.

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I researched 1920s style typography and watched my movie.

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The two typefaces I have decided to experiment with are:

Hurme Geometric Sans No.3, which is a versatile humanist typeface from the Hurme Geometric Sans font family, reminiscent of popular typefaces from the 1920s, with its bolded letters and ability to track in different ways.

Lietz Block, a bold, sans serif font which offers more character and fits with the beginning of the appearance of art deco in the 1920s.

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I also made a mind map of the main themes of the film:

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The more I research this film the more themes become apparent. My full list of themes at this point are:

  • Lost & Found
  • Romance
  • Hardship & Starvation
  • Riches
  • Friendship
  • Journey/Travel

Ideally I’d like my poster to portray a sense of journey and setting, with the Alaskan landscape blending into other elements to portray the journey/narrative as a whole. I’d also like to experiment with the romance between Charlie and Georgia, showing Georgia’s unobtainability and Charlie’s surprise at finally being able to be with her.

I will create tone and drama across my movie poster by the use of silhouetting and silhouetted collage to create one pictorial element with hard contrasts. Since the setting is in snow, I might use white for a background and/or for framing and add colour into the white. Text will be in a contrasting colour to the white, but may also end up the same colour as the silhouette focal point.

I plan to promote this film as though it were released today by following the style currently used in contemporary movie posters. With the neatly gridded layout, large title font with impact, smaller taglines and the focal point of only one pictorial image all set with dramatic contrast in tones, I feel that this style would make the film look far more contemporary.

Here is the mood board of my film:

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I did some concept sketches, but apparently do not have to post these this week.

 

Week 6: Book Production

My chosen method of printing was determined by the printer and was digital. I am getting 5 copies of my book printed. Larger runs would have transferred to offset, but offset was too high a cost to do for just 5 copies.

My final experiences with this design process…..I visited my printer today to proof the book. They had accidentally stitched the Singer sewing on the spine instead of 5mm in. I took the proof home and looked at it a lot and the spine stitching grew on me, due to the fact that the book lies flat with it. I decided to go with that, but Spread 7 and the cover needed work to bring it into line with the spinal stitching. The rest of the book was great and the 5mm fold allowance looked better in than out, even with final stitching.

One of the issues to fix was the broken word on Spread 7 – it was originally intended that the letters ran together, but now that we’re doing a flat layout, it needed to be joined up.

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I’m not going to enhance my book with a dust jacket as I’m working flat out for the money to pay for printing and I also think a dust jacket on such a thin book that is designed like mine is a bit silly too. I’m beavering away making an interactive PDF at the moment and working blind because I don’t have the latest version of Adobe software. But never mind that, my colleagues and peers are helping! Here are some images of the proof I approved today (though cover and Spread 7 were revamped before going on the press):

Beautiful end tails, love it!

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The Singer stitching in the middle looks really nice, with a little texture.

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Example of flat layout. I really quite liked it and the fold allowance of 5mm enhanced this book well in the spreads.

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Week 5: Cover Design, Binding & Typographical Hierarchy

The placement of typography within my grid varies. For many pages I have worked within grid frames and for some pages, where the characters were being affected, I exploded the typography outside of the grid. The typography works with the image placement on most pages and I’m refining the ones where it doesn’t. The typography now prints and reads well at actual size, I adjusted my smallest size typeface to be 10pt and body text to be 12pt across the book (apart from highlighted and featured text). I’ve avoided black type on dark colours and have used a lot of inversion to add interest and contrast.

Here are some examples of typographical development across my storybook spreads:

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I refined all my layouts, but here’s some successful ones so far:

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Here’s the development of my title page and end papers:

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and here’s my result:

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Binding is expected to be single Singer sewn in black thread with end tails left on, 5mm in from the fold.

I got my ink colours sorted out with liason with the printer and now it’s much blacker…here’s Spread 6:

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Spread 7:

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Spread 8:

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Photos of a test bound book:

As you can see, there was room for edits, especially on improving ink drawings with a colour overlay of 0/0/0/100 so there were no mixed CMYK percentages placed with 100% black text.

Reflection

Having the body copy worked from the same size (where normalised) has increased readability and consistency across the book. Leading has been improved as I’ve refined spreads and I have worked in nearly all short line lengths.

The feature text adds the right amount of gritty interest to the simple sans serif typeface I have chosen and the colour is minimal for maximum contrast. Flow across spreads was improved by the use of backgrounds, varying light/dark spreads and using typography as an element of illustration within the spreads. I’ve added interest by mixing up the backgrounds and typographical layouts.

Week 4: Layout Development

I’ve finished my five spreads for the week – yay!

There is some refinement needed on each of the spreads – Spread 2 is probably my biggest issue as the lizards are very dark and look different to all the other spreads. Still thinking about that one.

I believe I have created consistency and flow across the pages, while adding interest in division of some pages with black backgrounds.

Images will be full bleed for most of the book. Nearly all illustrations are built of parts that were cropped and joined together.

The mood created by the use of black ink is stark, contrasted and fits in with the realist/cynical narrative. Tones may need stabilising across the book – in some places the watercolour elements show and other places it is very black ink. I might stick to the grey/black tones as it adds depth and interest. Working with a very simple restricted colour palette has meant I focused more on shapes and typography to add interest and meaning.

This took a lot of work, with many hours involved in both typography and ink painting. Notes about some of the spreads are below:

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Title page

I think the bat is too close to Spread 1, even though it looks OK here. Either swap from Spread 1 with a different bat or change the title page bat.

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Spread 1

I think this is almost there, but the word ‘hamburger’ could use some white splodge to match the rest of the spreads and make it less clean.

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Spread 2

My worst spread. Still figuring out what to do about the lizards being too inky black and the peacocks word being overly decorated…definite refinement needed on this one.

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Spread 3

The ‘Somebody’ could form a microphone shape towards the right of the page. There is a bit of white space that could be uncomfortable for readers. The word ‘paralysis’ needs to look more paralysed (maybe by using one type style instead of many).

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Spread 4

This spread is a bit rude, but not many people illustrate it. Potential trapeze artist might be missing. There is a white space that I’m not sure about. The typography looks fine to me!

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Spread 5

One of my better ones, the car is flying off with spider legs. I painted a new cacti collection for larger cacti. The ‘TV madness and disaster’ is not quite as interesting as I’d like in the typography.